2017 2018 SEASON Gemma New, conductor Friday, November 17, 2017 at 8:00PM St. Louis Symphony Youth Orchestra BORODIN Polovtsian Dances from Prince Igor (1918) (1833–1887) Dance of the Polovtsian Maidens Polovtsian Dances ANNA CLYNE Abstractions (2016) (b. 1980) Marble Moon: Inspired by Sara VanDerBeek’s Marble Moon (2015) Auguries: Inspired by Julie Mehretu’s Auguries (2010) Seascape: Inspired by Hiroshi Sugimoto’s Caribbean Sea, Jamaica (1980) River: Inspired by Ellsworth Kelly’s River II (2005) Three: Inspired by Brice Marden’s 3 (1987–88) INTERMISSION DVORˇÁK Symphony No. 8 in G major, op. 88 (1918) (1841–1904) Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo ACKNOWLEDGMENTS The St. Louis Symphony Youth Orchestra is supported in part by Whole Foods, G.A. Jr. & Kathryn M. Buder Charitable Foundation and ESCO Technologies Foundation. NOTES ON THE PROGRAM ALEXANDER BORODIN Born November 12, 1833, Saint Petersburg Died February 27, 1887, Saint Petersburg Polovtsian Dances from Prince Igor BY RICHARD FREED Borodin was not a full-time musician: he was by profession a chemist and physician, and while an important one, as documented by the statues erected in Russia in honor of Borodin the scientist. Prince Igor, his most ambitious musical work, occupied him for some 18 years, but his other commitments left him no time for completing the opera. He wrote his own libretto, with the help of the critic Vladimir Stasov, based on The Epic of Igor and His Army. He studied the lore and music of the Turkomans and Tatars, and he set about to write a thoroughly Russian opera, as Mussorgsky had done, owing little or nothing to Italian or German tradition. Portions of Prince Igor were performed during Borodin’s lifetime, but he never got to orchestrating the opera or drawing it together in finished dramatic shape. Both of these tasks were left to his friend Nikolai Rimsky-Korsakov and Rimsky’s brilliant young pupil and colleague, Alexander Glazunov. One of Glazunov’s feats was the reconstruction of the opera’s overture, which Borodin had played once on the piano but had never written down. He and Rimsky divided the orchestration between them, and Rimsky is generally credited with orchestrating the entire second act, in which the famous dances occur. More recent research, however, indicates that Borodin himself had actually completed the First Performance November 4, 1890 at the Mariinsky Theatre in Saint Petersburg First YO Performance this week Scoring 2 flutes, piccolo, 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, tambourine, glockenspiel, triangle, cymbal, bass drum), harp, and strings Performance Time approximately 14 minutes orchestration of the Polovtsian Dances, leaving little for Rimsky to do in this section beyond a little editorial polishing. The epic on which the opera is based is the story of Prince Igor Sviatoslavich of Sversk and his campaign, in 1185, to save his city of Putivl from raids by the Tatar tribe of Polovtsi. He and his son Vladimir are captured by the Polovtsi, whose chief, Khan Konchak, treats them as honored guests and offers Igor his freedom in exchange for his pledge not to resume the fight. Igor, refusing that offer, manages to escape, rejoin his wife, and deal with the intrigues that have arisen in his absence. The Polovtsian Dances which end Act II represent the culmination of the lavish entertainment the Khan stages for Igor. Enslaved girls, warriors, and young boys take part in the various numbers which range in mood from seductive languor to barbaric abandon—and incorporate actual folk themes from the Caucasus and as far from Russia as the Moorish segments of North Africa. ANNA CLYNE Born March 9, 1980, London JAVIER ODDO JAVIER ABSTRACTIONS The composer writes: Abstractions is a suite of five movements inspired by five contrasting contemporary artworks from the Baltimore Museum of Art and from the private collection of Rheda Becker and Robert Meyerhoff, whom this music honors. 1. Marble Moon: Inspired by Sara VanDerBeek‘s Marble Moon (2015) 2. Auguries: Inspired by Julie Mehretu’s Auguries (2010) 3. Seascape: Inspired by Hiroshi Sugimoto’s Caribbean Sea, Jamaica (1980) 4. River: Inspired by Ellsworth Kelly’s River II (2005) 5. Three: Inspired by Brice Marden’s 3 (1987–88) In drawing inspiration from these artworks, I have tried to capture the feelings or imagery that they evoke, the concept of the work, or the process adopted by the artists. Such examples are the filtered blues and the contrast between light falling on the earthy stone and the mysterious moon, that characterize VanDerBeek’s Marble Moon; the long arching lines, compact energetic marks, and dense shifting forms of a system on the verge of collapse in Mehretu’s Auguries; the serene horizon with rippled water in Sugimoto’s Seascape; the stark juxtaposition of the energetic black and white lines that enlarge Kelly’s brushstrokes in River II; and the lines, which, inspired by Asian calligraphy and the structure of seashells, appear to dance in Marden’s 3. Some common threads between the artworks are their use of limited color palettes, references to nature, and the capturing of time as a current that flows—distilling and preserving it so that we can contemplate it as the viewer. I was also attracted to the structures of these works—for First Performance May 7, 2016 in North Bethesda, Maryland, Marin Alsop conducting the Baltimore Symphony Orchestra First YO Performance this week Scoring 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, whip, sandblock, suspended sizzle cymbal, crotales, vibraphone, suspended cymbal, tam-tam, wind machine, Tibetan singing bowls), harp, piano, and strings Performance Time approximately 20 minutes example River II and Auguries, which at first sight could be seen as random, and even chaotic, are in fact created within a sense of order – they feel both dynamic and structural. Thank you to Marin Alsop and the Baltimore Symphony for this wonderful opportunity to write music in honor of Rheda Becker and Robert Meyerhoff, and to Kristen Hileman, senior curator of contemporary art at the Baltimore Museum Art, for her generosity of time and knowledge. — Anna Clyne ANTONÍN DVORˇÁK Born September 8, 1841, Nelahozeves, Bohemia Died May 1, 1904: Prague, Cz ech Republic SYMPHONY NO. 8 IN G MAJOR, OP. 88 BY DANIEL DURCHHOLZ For his Symphony No. 8, Antonín Dvorˇák said he wished to compose a work “different from the other symphonies, with individual thoughts worked out in a new way.” To be sure, the great Czech composer did not reinvent the symphonic form with his Eighth, though he did find unique ways of presenting his ideas, working his way through a variety of themes and composing with great invention, verve, and a deep affection for the music of his Bohemian homeland. More than anything, Dvorˇák’s Eighth stands in stark contrast to the tragic hue of his Seventh, which was written following the death of his mother; a time, he said, “of doubt, and obstinacy, silent sorrow and resignation.” Yet that particular work stands as one of his most profound achievements. The Eighth is every bit its equal, but is its attitudinal polar opposite. As Dvorˇák would say, “different.” It is notable for its exuberance, its tunefulness, and its use of Slavic folk idioms, something Dvorˇák excelled at throughout his career. It was his fellow Czech composer Leoš Janácˇek—himself no stranger to borrowing from his native culture—who declared Dvorˇák the “sole representative of Czech music.” The Eighth Symphony is one reason why. Perhaps the mood of the piece and the sources it draws upon have something to do with the circumstances of its composition. By the time he undertook the Eighth, Dvorˇák was living in comfortable circumstances. Brahms had praised Dvorˇák and made connections for him and noted conductors, such as Hans Richter and Hans von Bülow, also championed his work. He traveled extensively (though not yet to America, which would inspire his Symphony No. 9 “From the New World”) and he was famous as a conductor as well as a composer. Success had not turned Dvorˇák’s head, though, and he remained deeply devoted to Czech nationalism and to the music of his homeland—a passion that burned within him since his early work with another great Czech composer, Bedrˇich Smetana. But success had accorded him a certain degree of comfort, including the purchase of a summer home in Bohemia, where he composed and orchestrated his Symphony No. 8 in a mere two and a half months—between August 26 and November 8, 1889. Being in the countryside no doubt inspired the symphony’s bucolic feel and lent to the ease and speed of its composition. “Melodies simply pour out of me,” he said at the time. That much is evident in the first movement, which begins with a bit of melodic misdirection. Rather than the key of G major, which is promised in the title, Dvorˇák introduces a theme in G minor. Its somber sound is comparable to a sky full of gloomy clouds whose purpose is to remain only long enough to offer a contrast to the moment when they disperse and allow the sun to burst through. Present also in the first moment is a playful “bird call” melody played on the flute as well as energetic bursts—lots of timpani, to be sure—and an abundance of melodic ideas following fast on one another’s heels. The second movement, more peaceful and pastoral, tracks the passage of a day in the countryside.